Sport provides an arena for human flourishing. For some, this pursuit of a meaningful life through sport involves the use of non-human animals, not least of all through sport hunting. This paper will take seriously that sport – including sport hunting – can provide a meaningful arena for human flourishing. Additionally, it will accept for present purposes that animals are of less moral value than humans. This paper will show that, even accepting these premises, much use of animals for sport (...) – including sport hunting – is unacceptable. Nonetheless it will show that there can be acceptable ways of using animals as part of a human’s meaningful life pursuits through sport, albeit in a more limited fashion than many sportspersons currently accept. (shrink)

There seems to be a deep tension between two aspects of aesthetic appreciation. On the one hand, we care about getting things right. On the other hand, we demand autonomy. We want appreciators to arrive at their aesthetic judgments through their own cognitive efforts, rather than deferring to experts. These two demands seem to be in tension; after all, if we want to get the right judgments, we should defer to the judgments of experts. The best explanation, I suggest, is (...) that aesthetic appreciation is something like a game. When we play a game, we try to win. But often, winning isn’t the point; playing is. Aesthetic appreciation involves the same flipped motivational structure: we aim at the goal of correctness, but having correct judgments isn’t the point. The point is the engaged process of interpreting, investigating, and exploring the aesthetic object. Deferring to aesthetic testimony, then, makes the same mistake as looking up the answer to a puzzle, rather than solving it for oneself. The shortcut defeats the whole point. This suggests a new account of aesthetic value: the engagement account. The primary value of the activity of aesthetic appreciation lies in the process of trying to generate correct judgments, and not in having correct judgments. -/- *There is an audio version available: look for the Soundcloud link, below.*. (shrink)

What is a game? What are we doing when we play a game? What is the value of playing games? Several different philosophical subdisciplines have attempted to answer these questions using very distinctive frameworks. Some have approached games as something like a text, deploying theoretical frameworks from the study of narrative, fiction, and rhetoric to interrogate games for their representational content. Others have approached games as artworks and asked questions about the authorship of games, about the ontology of the work (...) and its performance. Yet others, from the philosophy of sport, have focused on normative issues of fairness, rule application, and competition. The primary purpose of this article is to provide an overview of several different philosophical approaches to games and, hopefully, demonstrate the relevance and value of the different approaches to each other. Early academic attempts to cope with games tried to treat games as a subtype of narrative and to interpret games exactly as one might interpret a static, linear narrative. A faction of game studies, self-described as “ludologists,” argued that games were a substantially novel form and could not be treated with traditional tools for narrative analysis. In traditional narrative, an audience is told and interprets the story, where in a game, the player enacts and creates the story. Since that early debate, theorists have attempted to offer more nuanced accounts of how games might achieve similar ends to more traditional texts. For example, games might be seen as a novel type of fiction, which uses interactive techniques to achieve immersion in a fictional world. Alternately, games might be seen as a new way to represent causal systems, and so a new way to criticize social and political entities. Work from contemporary analytic philosophy of art has, on the other hand, asked questions whether games could be artworks and, if so, what kind. Much of this debate has concerned the precise nature of the artwork, and the relationship between the artist and the audience. Some have claimed that the audience is a cocreator of the artwork, and so games are a uniquely unfinished and cooperative art form. Others have claimed that, instead, the audience does not help create the artwork; rather, interacting with the artwork is how an audience member appreciates the artist's finished production. Other streams of work have focused less on the game as a text or work, and more on game play as a kind of activity. One common view is that game play occurs in a “magic circle.” Inside the magic circle, players take on new roles, follow different rules, and actions have different meanings. Actions inside the magic circle do not have their usual consequences for the rest of life. Enemies of the magic circle view have claimed that the view ignores the deep integration of game life from ordinary life and point to gambling, gold farming, and the status effects of sports. Philosophers of sport, on the other hand, have approached games with an entirely different framework. This has lead into investigations about the normative nature of games—what guides the applications of rules and how those rules might be applied, interpreted, or even changed. Furthermore, they have investigated games as social practices and as forms of life. (shrink)

Games may seem like a waste of time, where we struggle under artificial rules for arbitrary goals. The author suggests that the rules and goals of games are not arbitrary at all. They are a way of specifying particular modes of agency. This is what make games a distinctive art form. Game designers designate goals and abilities for the player; they shape the agential skeleton which the player will inhabit during the game. Game designers work in the medium of agency. (...) Game-playing, then, illuminates a distinctive human capacity. We can take on ends temporarily for the sake of the experience of pursuing them. Game play shows that our agency is significantly more modular and more fluid than we might have thought. It also demonstrates our capacity to take on an inverted motivational structure. Sometimes we can take on an end for the sake of the activity of pursuing that end. (shrink)

ABSTRACTAchievements are among the things that make a life good. Assessing the plausibility of this intuitive claim requires an account of the nature of achievements. One necessary condition for achievement appears to be that the achieving agent acted competently, i.e. was not just lucky. I begin by critically assessing existing accounts of anti-luck conditions for achievements in both the ethics and epistemology literature. My own proposal is that a goal is reached competently, only if the actions of the would-be-achiever make (...) success likely, and that this is the reason why she acts that way. (shrink)

Games have a complex, and seemingly paradoxical structure: they are both competitive and cooperative, and the competitive element is required for the cooperative element to work out. They are mechanisms for transforming competition into cooperation. Several contemporary philosophers of sport have located the primary mechanism of conversion in the mental attitudes of the players. I argue that these views cannot capture the phenomenological complexity of game-play, nor the difficulty and moral complexity of achieving cooperation through game-play. In this paper, I (...) present a different account of the relationship between competition and cooperation. My view is a distributed view of the conversion: success depends on a large number of features. First, the players must achieve the right motivational state: playing for the sake of the struggle, rather than to win. Second, successful transformation depends on a large number of extra-mental features, including good game design, and social and institutional features. (shrink)

While investigating the value of achievements, Dunkle claims that lucky achievements are possible. For instance, if a person does great works, then it is possible that the works have the status of achievements, even if luck plays a crucial role in doing the great works. Rather than examining Dunkle’s claim, this paper proceeds discussion under the assumption that lucky achievements are possible. In particular, based on this assumption, this paper suggests a new approach to the nature of achievement named the (...) Comparative Value Approach. According to the comparative value approach, a product can have the status of an achievement if the product is valuable in an achievement-relevant domain, and in that domain the product is valuable more than most other items which either have been achieved or can be achieved by others. This paper shows that the comparative value approach successfully explains the cases of achievements, including the cases of lucky achievements. Besides this reason, this paper provides three more reasons to show that the comparative value approach is a feasible view of achievements. The comparative value approach can accommodate the fact that there are various kinds of achievements; the approach can explain the relation between the nature of achievement and the achievement-value of a product; and the approach can show why in determining the status of a product it matters that for average people achieving a similar kind of product is sufficiently difficult. Based on these four reasons, this paper concludes that the comparative value approach is a plausible understanding of achievements. (shrink)

This book is a total joy to read. Thi Nguyen’s energy radiates from every page – the prose is truly delightful, with all sorts of poetic turns of phrase enliven.

ABSTRACTIn this article, I consider Bernard Suits’ Utopia where the denizens supposedly fill their days playing Utopian sports, with regard to the relevance of the thought experiment for understand...

Why do we so often care about the outcomes of games when nothing is at stake? There is a paradox here, much like the paradox of fiction, which concerns why we care about the fates and threats of merely fictional beings. I argue that the paradox threatens to overturn a great deal of what philosophers have thought about caring, severing its connection to value and undermining its moral weight. I defend a solution to the paradox that draws on Kendall Walton's (...) solution to the paradox of fiction, developing his idea that it be extended to games. The solution takes games to involve make‐believe: in particular, players and spectators make‐believe that the outcome of the game matters. I also explore how the phenomenon extends beyond games. And I explore some moral implications: in particular, my view preserves the idea that we have reason not to impede others in their pursuit of what they care about. (shrink)

ABSTRACTMost authors who discuss the normative impact of sacrifices do so with regards to the impact that a sacrifice can have on the practical reasons of the agent who makes it. A different and underappreciated phenomenon of sacrifices is their other-regarding normative impact: the sacrifice of person A can have an impact on the practical reasons of person B, either by generating practical reasons for B to act in certain ways or by intensifying existing reasons of B for specific courses (...) of action. This paper asks when and why sacrifices have such other-regarding normative impact and argues that sacrifices can have other-regarding normative impact because sacrifices can be intrinsically good. The intrinsic value of sacrifices is explained by the recursive account of value: sacrifices are intrinsically good if and because they are appropriate responses to intrinsic values, and appropriate responses to intrinsic values are themselves intrinsically good. Furthermore, sacrifices are difficult to make, and successful pursuit in difficult activities can also be intrinsically good. (shrink)

This dissertation examines the practice of categorizing works of art and its relationship to art criticism. How a work of art is categorized influences how it is appreciated and criticized. Being frightening is a merit for horror, but a demerit for lullabies. The brushstrokes in Monet's "Impression, Sunrise" (1874) look crude when seen as a Neoclassical painting, but graceful when seen as an Impressionist painting. Many of the judgments we make about artworks are category-dependent in this way, but previous research (...) has rarely examined in depth the ontological structure of art categories, how they are generated and maintained, and how they function. This dissertation fills this gap. The proposal of this dissertation can be summarized as follows. Categories (especially genres) should be analyzed as clusters of rules that regulate the responses and behaviors of agents in the artworld. The visual mundaneness is a critical reason to consider Duchamp's "Comb" (1916) provocative, given the existence of the readymade as a set of rules that justifies such reasoning. The critical and appreciative practice of which categorization is a part is a social practice of making, declaring, proposing, reforming, and developing rules of appreciation. How we appreciate artworks, and how criticism guides our appreciation, is sensitive to how we categorize artworks. How we categorize artworks is sensitive to what categories have been set up in our community and which categories are active regarding each artwork. (shrink)

ABSTRACTI argue that the apparently exclusive choice between Suits’ utopia of gameplay and death by suicide is a false dilemma, one which obscures a ‘third way’ of positive boredom. Further, I offe...

C. Thi Nguyen’s Games: Agency as Art delivers on three ambitious aims: It offers a novel take on human cognition—it claims that we are able to ‘layer’ our agency during gameplay,It contributes to t...

ABSTRACTAn essential and yet often neglected motivation of Bernard Suits’ elevation of gameplay to the ideal of human existence is his account of capacities along perfectionist lines and the function of games in eliciting them. In his work Suits treats the expression of these capacities as implicitly good and the purest expression of the human telos. Although it is a possible interpretation to take Suits’ utopian vision to mean that gameplay in his future utopia must consist of the logically inevitable (...) replaying of activities we conduct in the present for instrumental reasons, because gameplay for Suits is identical with the expression of sets of capacities specifically elicited by game rules, it is much more likely that he intends utopian gameplay to be an endless series of carefully crafted opportunities for the elicitation of special capacities, and thus embody his ideal of existence. This article therefore provides a new lens for understanding both... (shrink)

ABSTRACTAccording to Bernard Suits, people in Utopia would spend their time playing games and would not spend any time creating or engaging with artworks. Here, we argue against this claim. We do s...

Consistent with the idea that business ethics is a form of applied ethics, many virtue ethicists make use of an extant (pure) moral philosophy framework, namely, one developed by Alasdair MacIntyre. In doing so, these authors have refined MacIntyre’s work, but have never really challenged it. In here questioning, and developing an alternative to, the MacIntyrean orthdoxy, I illustrate the merit of business ethicists adopting a broader philosophical perspective focused on constructing (new) theory. More specifically—and in referring to action sports (...) (e.g., mountain biking, snowboarding)—I propose that an external good motive is not only much more consistent with virtuous practical excellence than MacIntyreans acknowledge, but that such a motive is fundamental to identifying and explaining how practices can be deliberately created (by businesses). Consequently, and in stark contrast with MacIntyre’s deeply pessimistic outlook on modern business and society, I propose that those who value practices might celebrate our current era. (shrink)

In The Grasshopper: Games, Life, and Utopia, Suits maintains the following two theses: game-playing is defined as ‘activity directed towards bringing about a specific state of affairs, using only means permitted by rules, where the rules prohibit more efficient in favour of less efficient means, and where such rules are accepted just because they make possible such activity’ and ‘game playing is what makes Utopia intelligible.’ Observing that these two theses cannot be jointly maintained absent paradox, this essay explores the (...) logical possibility that if is true, then must be false. More specifically, in the tradition of conceptual analysis it is argued that Suits’ definition of game-playing is too narrow inasmuch as it excludes really magnificent Utopian games of significance. (shrink)

Bernard Suits is commonly thought to have defined games as challenges. This paper argues that Suits could not have done so without ruining his larger philosophical project. It then argues that he did not do so. Suits defined game playing in quantitative terms (i.e. being more or less efficient) not qualitative ones (e.g. difficulty, struggle). The paper concludes by exploring the consequences of this shift in perspective.

The goal of this paper is to reconceptualise the relationship between politics and sporting practice with the aim of gesturing towards broad themes that a political theory of sport could explore. Many philosophical theories of sport, including the dominant mutualist view, are internalist: they suggest that there is some distinctive logic internal to sports that must feature in the best explanation of our sporting practices. Yet, in attempting to articulate this distinctive internal logic, mutualists quarantine sport from its wider context (...) to understand sporting practice on its own terms. This methodological decision, I argue, invites the unwarranted assumption that sporting practice and politics constitute two separate domains bearing little to no relation to one another. Consequently, mutualism provides us with an impoverished understanding of sporting practice – especially in colonial contexts. Against this view, I use CLR James' writings to show how the internal norms and rules of cricket simultaneously perpetuate an oppressive social structure and articulate the beginnings of an emancipatory political project. This, in turn, has the potential to connect debates within the philosophy of sport to questions around resistance and oppression. (shrink)

I am not an exponent of any sport at a level above the barely competent, unlike some other writers in this collection. Moreover, I have long since abandoned efforts at engaging in sport and now merely watch it, again with no special powers of analysis or understanding. But one's level of competence and understanding do not, fortunately, determine the importance in one's life of things, and sport has played a large, and I think largely enhancing, role in my life. So (...) I am writing as someone with a lifelong interest in it with the aim of examining this thing, sport, trying to articulate what it is that I have been engaged with, and what it has given me. I am assuming that my own attitudes towards sport are not eccentric or unusual and so these reflections growing out of my own experiences will resonate with others. In effect I am engaging here in what is normally thought of as central philosophical task, that of trying to live an examined life – a life in which one of its components is to reflect hard on the nature and value of some of its other components. It would be, of course, a terrible mistake to think, as some philosophers are supposed to do, that an unexamined life is not worth living , an attitude which consigns the vast majority of lives to worthlessness, but we are, probably, committed to thinking that the reflective examination of our lives represents something good. (shrink)

I evaluate four historically precedented tests for what makes a life worth living: (1) The Suicide Test (Camus), (2) The Recurrence Test (Schopenhauer and Nietzsche), (3) The Extra Life Test (Cicero and Hume), and (4) The Preferring Not to Have Been Test (Job and Williams). I argue that all four fail and tentatively defend the heuristic value of a fifth, The Pre-Existence Test for what makes a life worth living: (5) A life worth living is one that a benevolent caretaker (...) with foreknowledge would allow. A life worth avoiding is one that a benevolent caretaker would disallow. This test usefully tracks the general extension of the concept of what makes a life worth living. I consider three objections and note that there appears to be an indeterminate middle category of lives worth neither. Ultimately, I argue that any plausible test will risk circularity or will require a theory of worth to be viable. (shrink)

ABSTRACT: In Wittgenstein's Philosophical Investigations the notion of a 'language game' gives human communication a regained flexibility. Contrary to the Tractatus, the ethical domain now composes one language game among others, being expressed in various types of sentences such as moral judgments, imperatives and praises, and being shared in activity by a human form of life. The aim of this paper is to show that the same moves that allow for a moral language game are the ones allowing for learning (...) and teaching about the moral living, where persuasion takes the place of argument by means of a plural appeal. For this purpose, literature would seem to be one of the best tools at our disposal. As a way of exemplifying our moral engagement to literature I proceed at last to a brief analysis of Tolstoy's Father Sergius, to show how playing this game would help us accomplish this pedagogical enterprise. RESUMO: Nas Investigações Filosóficas de Wittgenstein, a noção de 'jogo de linguagem' dá à comunicação humana uma nova flexibilidade. Contrariamente ao Tractatus, o domínio da ética compõe agora um jogo de linguagem, entre outros, sendo expresso por vários tipos de sentenças, tais como juízos morais, imperativos e louvores, e sendo compartilhado enquanto atividade por uma forma de vida humana. O objetivo deste artigo é mostrar que os passos que nos permitem falar de um jogo de linguagem moral são os mesmos que possibilitam o aprendizado e o ensinamento da vivência moral, onde a persuasão toma o lugar do argumento, com o uso de apelos plurais. Para esse propósito, a literatura parece constituir uma das melhores ferramentas à nossa disposição. Como forma de exemplificar o nosso engajamento moral para com a literatura, eu procedo, ao final, a uma breve análise da novela Padre Sérgio, de Tolstói, a fim de mostrar que o fato de jogarmos esse jogo nos ajuda a cumprir um empreendimento pedagógico. (shrink)

This paper argues that striving is a cardinal virtue in sport and life. It is an overlooked virtue that is an important component of human happiness and a source of a sense of dignity. The human ps...

ABSTRACT This paper argues that striving is a cardinal virtue in sport and life. It is an overlooked virtue that is an important component of human happiness and a source of a sense of dignity. The human psychological capacity for striving emerged as a trait for addressing the entropic features of our existence, but it can be engaged and used for other purposes. Sport is one such example. Sport appears exceptional in being designed specifically to test and display our capacities (...) to strive. Although striving is connected to pursuit of excellence in sport, it supports a more democratic conception of the value of sport than achievement-oriented perfectionist accounts. (shrink)

Philosophy has a schizophrenic relationship with games. On the one hand, philosophers love using games as model, arguing that phenomena as diverse as linguistic meaning, meta‐ethics, normative ethics, applied ethics, law, and aesthetics can be illuminated via an analogy with games. On the other hand, there is scant focused discussion of the concept of a game as such. This is problematic; the appeal to games as a model to clarify philosophically puzzling questions has limited utility if games themselves (and the (...) concept of a game) are poorly understood. Moreover, playing games plausibly is an important element in a good life; anyone interested in the theory of welfare, a traditional philosophical topic, should be interested in games. We play games, but if anything, play itself has been more neglected by philosophers than games. This neglect is unwarranted. Historically, philosophy has investigated foundational questions about human nature, and a disposition to play plausibly is a deep part of human nature. Moreover, play is an important concept in evolutionary biology and psychology, yet those working in those fields struggle to define the concept to their own satisfaction. E.O. Wilson went so far as to remark that “no behavioural concept has proved more ill‐defined, elusive, controversial, and even unfashionable than play.” One might have hoped philosophers could help here. In this paper, I provide an opinionated introduction to the philosophy of play and games. (shrink)

It is widely agreed that play and games contribute to the good life. One might naturally wonder how games in particular so contribute? Granted, games can be very good, what exactly is so good about them when they are good? Although a natural starting point, this question is perhaps naive. Games come in all shapes and sizes, and different games are often good in very different ways. Chess, Bridge, Bingo, Chutes and Ladders, Football, Spin the Bottle, Dungeons & Dragons, Pac-Man, (...) Minecraft and Charades are all games, and can all contribute to a good life, but each will characteristically enrich someone’s life in its own distinctive way. Some games facilitate socializing and sociability, other games improve physical fitness, some develop a sense of fair play and reciprocity, while others enhance concentration and analytic skills. Asking ‘what is good about games?’ and assuming a simple answer is as naïve as asking ‘what is good about fiction?’ or ‘what is good about sex?’ However, a less naïve question and philosophically interesting question is not hard to formulate. Plausibly, much of the heterogeneity of the value of games stems from the different kinds of instrumental value of different games. Perhaps we should therefore ask in what ways the activity of playing games is characteristically good for its own sake. Unfortunately, the philosophical literature on the non-instrumental value of playing games is sparse. One of the few sustained treatments of the topic can be found in an underappreciated exchange between Thomas Hurka and John Tasioulas. Interestingly, despite taking different views of what it is to play a game, they both make room for the non-instrumental value of play and achievement in game play and they both argue that these two goods stand in important an important explanatory relation. However, they take diametrically opposed views as to which of these good is more basic. Roughly, on Hurka’s view, the good of achievement is more basic, and it is because of the non-instrumental value of achievement that what Hurka calls “playing in a game,” which involves playing, is itself non-instrumentally good because of the non-instrumental value of achievement. The idea is that if something is non-instrumentally good then loving that thing is also non-instrumentally good, and that playing in a game involves loving the activity for its own sake. In this way, the value of achievement in a game grounds the value of playing in a game. Tasioulas takes exactly the opposite approach. He argues that there must be something independently good about playing a game which grounds the value of achievement in that game. On his view, the typical grounding good or “framing value” of games is play itself – what I am here calling “playing.” In this essay, I raise some objections to both Hurka’s view and Tasioulas’s view and develop a positive alternative conception of the non-instrumental value of games. I argue that while each view is insightful in its own way, neither gets things exactly right. For a start, the way in which they characterize the key concepts is problematic. Hurka’s definition of ‘play a game’, which he lifts from Suits, is problematic, while both of their characterizations of play are problematic for reasons I rehearse here. They also take an unduly narrow view of the possible role of achievement in game play, both effectively conflating achievement with “excellence.” I argue, by contrast, that there is an important sense in which even someone who is not very good at the game by any objective standard can still reap the goods of achievements in games. At the same time, those who play games typically do not do so for the sake of achievements as such, though they may do something which is in a sense tantamount to this, or so I shall argue. Finally, I argue that neither Hurka’s “achievement first” order of explanation nor Tasioulas’s “play first” order of explanation is fully correct. I argue for what I call a “variable priority” view. On this view, the value of play sometimes grounds the value of achievement in a game, while in other cases the independently grounded value of achievement in a game provides a further ground for the value of play, though even in that case play is independently good for its own sake. I begin by laying out Hurka’s and Tasioulas’s views. (shrink)

ABSTRACTI present a corrective to the formalist and conventionalist down-playing of physical actions in the understanding of the value of sport. I give a necessarily brief account of the Causal Theory of Action and its implications for the normativity of actions. I show that the CTA has limitations, particularly in the case of failed or incomplete actions, and I show that failed or incomplete actions are constitutive of sport. This allows me to open up the space for another model, drawn (...) from Aristotle, for failed or incomplete actions, conceived of as ‘doables.’ This avoids some of the problems of the CTA. I explain the importance of difficult but doable actions, at which athletes often fail, and suggest that this establishes pro tanto value. Finally, I claim that this account of the actions that are constitutive of sport deepens our understanding of the value of sport as a whole. (shrink)

My objective in this project is to explore the concept of moral luck as it relates to sports. I am especially interested in constitutive luck. As a foundation I draw from both Bernard Williams and Thomas Nagel’s classic handling of moral luck, generally. Within the philosophy of sport are similar explorations of this nexus by Robert Simon and David Carr that also factor into the present work. My intent is to put a new lens in front of a puzzle drawn (...) from Torbjörn Tännsjö’s well-known article ‘Is Our Admiration of Sports Heroes Facistoid?’ Specifically, the idea that we might admire an athlete who excels without having worked hard for it. If we may call this puzzle ‘the talent problem,’ the questions driving the present work are as follows: what is the relationship between moral luck and the talent problem, and can this relationship provide a prescription for morally assessing the talent problem? The thesis that this exploratory work suggests that more complex games (and... (shrink)

In this paper, I defend a general theory of competition and contrast it with a corresponding general theory of cooperation. I then use this analysis to critique mutualism. Building on the work of Arthur Applbaum and Joseph Heath I develop an alternative adversarial model of competitive sport, one that helps explain and is partly justified by shallow interpretivism, and argue that this model helps shows that the claim that mutualism provides us with the most defensible ethical ideal of sport is (...) false. By replacing that view with an understanding of sporting adversarial ethics we can appreciate that the ethics of sport are more complex than has been commonly recognized. (shrink)

Wittgenstein did not claim that the ordinary language concept ‘game’ cannot be defined: he claimed that there are multiple definitions that can be adopted for special purposes, but no single definition applicable to all games. I will defend this interpretation of Wittgenstein’s position by showing its compatibility with a pragmatic argumentative view of definitions, and how this view accounts for the diversity of disagreeing game definitions in definitional disputes.

In Games: Agency as Art, Thi Nguyen has given us a deep and compelling picture of agency as much more layered, volatile, environment-dependent and discontinuous than it appears in most philosophical accounts. Games ‘inscribe … forms of agency into artifactual vessels’.1 1 When we play a game, we take up a form of agency, including a set of motivations, values and goals, which has been artificially provided by the game. Our purpose in playing, in the kinds of gameplay that interest (...) Nguyen, is to have the aesthetic experience of first-personally exercising the kind of agency sculpted by the game. As we move in and out of gameplay, we take up and drop values, motives, and goals that are provided to us by the game. Games can expand our autonomy and the richness of life by allowing us to practice different forms of agency, taking on different ends for the aesthetic experience of striving to meet them. While I am on board with these central moves of Nguyen’s book, in this essay I will argue that the situation is substantially messier than Nguyen portrays it as being. Game play, I will claim, is inextricably embedded and entangled in its larger social, material and cultural context. Conversely, I will argue, everyday life is routinely sculpted in ways Nguyen claims are distinctive of games. (shrink)

I here defend the thesis that the best life is the life that one plays as a game—specifically, a ‘Suitsian’ game that meets the definition proposed in The Grasshopper by Bernard Suits. Even more specifically, it is a nested, open, role-playing game where the life’s quality as a game partly depends on there being no more people than players. To defend this thesis I refute two powerful challenges to it, one from Thomas Hurka (2006) and another from within The Grasshopper (...) itself. In the process, I offer a new interpretation of that enigmatic and challenging book. (shrink)

ABSTRACTIn this article, we contextualize and introduce the papers that comprise the special issue, “Bernard Suits’ Legacy: New Inspirations and Interpretations.” The articles discuss the work of S...

In domains as disparate as playing Go and predicting the structure of proteins, artificial intelligence (AI) technologies have begun to perform at levels beyond which any humans can achieve. Does this fact represent something lamentable? Does superhuman AI performance somehow undermine the value of human achievements in these areas? Go grandmaster Lee Sedol suggested as much when he announced his retirement from professional Go, blaming the advances of Go-playing programs like AlphaGo for sapping his will to play the game at (...) a high level. In this paper, I attempt to make sense of Sedol’s lament. I consider a number of ways that the existence of superhuman-performing AI technologies could undermine the value of human achievements. I argue there is very little in the nature of the technology itself that warrants such despair. (Compare: does the existence of a fighter jet undermine the value of being the fastest human sprinter?) But I also argue there are several more localized domains where these technologies threaten to displace human beings from being able to achieve valuable things at all. This is a particular worry for those in unequal societies, I argue, given the difficulty of many achievements and the corresponding amount of resources needed to achieve great things. (shrink)

I call the trait that makes for a good or great competitor, the trait that makes its possessor compete well, ‘competitive excellence’. We seem to be of two minds about this trait: on the one hand,...

This paper challenges Thi Nguyen's argument, in Games: Agency as Art, a central part of the value of game-play comes from the aesthetic experiences it allows, especially of our own agency, so playing a game is importantly like engaging with art. It challenges three arguments Nguyen makes in support of this view and argues, to the contrary, that the principal value in game-play rests in the achievments it allows.

This paper starts by addressing some objections to the very idea of aggregate social good. The paper goes on to review the case for letting aggregate social good be not only morally relevant but also sometimes morally decisive. Then the paper surveys objections to letting aggregate social good determine personal or political decisions. The paper goes on to argue against the idea that aggregate good is sensitive to desert and the idea that aggregate good should be construed as incorporating agent-relativity.

This paper starts by addressing some objections to the very idea of aggregate social good. The paper goes on to review the case for letting aggregate social good be not only morally relevant but also sometimes morally decisive. Then the paper surveys objections to letting aggregate social good determine personal or political decisions. The paper goes on to argue against the idea that aggregate good is sensitive to desert and the idea that aggregate good should be construed as incorporating agent-relativity.

An increasingly popular view in the philosophy of art is that some artworks are good artworks at least partly because they are achievements. This view was introduced to explain why two works that look the same, such as an original painting and a perfect copy, can differ in artistic merit. An achievement theory can say that the original is better because it is a greater achievement. Achievement theories have since been used to answer other questions, and they are now a (...) serious alternative to traditional theories of artistic merit. This paper has three aims. The first is to articulate the achievement theory more fully and explicitly than its advocates have. The second is to show that the achievement theory should be rejected, by raising five problems for it. The third is to show that appealing solely to the excellence, aptitude, and ineptitude a work manifests yields a better theory of artistic merit. (shrink)

This essay explores the features in virtue of which games are valuable or worthwhile to play. The difficulty view of games holds that the goodness of games lies in their difficulty: by making activities more complex or making them require greater effort, they structure easier activities into more difficult, therefore more worthwhile, activities. I argue that a further source of the value of games is that they provide players with an experience of freedom, which they provide both as paradigmatically unnecessary (...) activities and by offering opportunities for relatively unconstrained choice inside the ‘lusory’ world that players inhabit. (shrink)

Although a large number of theories justify the presence of games in school, all of them converge in two of the educational functions described by Biesta, socialization and qualification. In contra...

Since Sigmund Freud developed and popularized psychoanalysis, this psychological theory has significantly influenced contemporary thinking, particularly in philosophical disciplines focused on understanding human behavior and addressing social problems. Take the examples of political philosophy, race theory, and feminist thought, among many others. However, although sport philosophy qualifies as one such discipline, scholars in this field have given little to no attention to psychoanalysis and psychoanalytical theorists. Remarkably, psychoanalytical notions, especially those of Eric Berne and Norman O. Brown, significantly shaped Bernard (...) Suits’ pioneering thoughts on games. Nevertheless, sport philosophers have largely overlooked the importance of psychoanalysis in Suits’ examinations of games and, more broadly speaking, rarely attempted to apply psychoanalytical concepts to their analyses of sport. In this paper, I explain the psychoanalytical roots of Suits’ theory of games and explore how much of his theory of games is indebted to psychoanalysis. Specifically, I first compare Suits’ analysis of unconscious gameplay to psychoanalytic concepts of repression and neurosis. Subsequently, I explore the alignment between Suits’ views on gameplay and psychoanalytic accounts of play and pleasure. To conclude, I examine the therapeutic and emancipatory character of Suits’ proposal, drawing parallels between his philosophical corpus and critical theorists whose critical analyses of modern society are heavily indebted to Freud. (shrink)